¤ An attractive map centered on England, Wales and southern part of Scotland. The very decorative cartouche includes a dedication to Iacques II Roy d'Angleterre, d'Escosse et d'Irlande . The left side presents a list of the English shires. A visually stunning map with a large title cartouche. This large one-sheet map was produced by the Venetian cosmographer Vincenzo Coronelli when he was working in Paris in the 1680's. Tillemon, who corrected and amended the map was, Coronelli's collaborator in Paris and J.B.Nolin was their publisher.Nolin must have published this map separately on several occasions as it is not regularly found in atlas form. Engraved by H.van Loon.Rare.

¤ A beautiful and flamboyantly engraved two sheet map of British Isles, including four large cartouches and table of counties, towns, etc. Shows towns, mountains, rivers, lakes, islands, bays, churches and other features. One of the most sought after large format 17th century decorative maps of England.

The map is the product of the late 17th century Venetian cartographer, Vincenzo Coronelli. A decorative title cartouche appears bottom left in the form of a banner supported by playful winged mermaids and cherubs.The remarkable Vincenzo Coronelli (1650-1718), encyclopaedist, geographer, inventor and Doctor of Theology, was citizen of the Republic of Venice. He was also one of the most prominent mapmakers and publishers in Europe of his day.

¤ Decorative map of British Isles divided into the 7 ancient Heptarchies of the Saxons and also showing the more modern counties or shires. With Rococo title cartouche. Engraved by E.Haussard.Dated 1753. Pedley, Bel et utile, map 48.

¤ Fine map of the British Isles, in a second state. The map was first published by Tavernier and later by Mariette. This edition carries the date 1641, and address of Pierre Mariette; rue st.Jacques a L'Esperance". Sanson shows the British tribes, the towns, and the ancient divisions of the country. There is a misprint in the first word of the title and the right-hand border has not been engraved. Nicolas Sanson was to bring about the rise of French cartography, although the fierce competition of the Dutch would last until the end of the century. His success was partly owing to the partnership with the publisher Pierre Mariette. In 1644 the latter had purchased the business of Melchior Tavernier, and helped Sanson with financial support in producing the maps. In 1657 Pierre Marriette died, however his son, also named Pierre, co-published "Les Cartes Générales de toutes les parties du Monde." the following year. It was the first folio French produced world atlas. - Shirley, British Isles, 1477-1650, 515.

¤ Woodcuts depicting the English Province, Salomon's genealogy tree on two pages, a scene between Abner & Joab and the Judgment of Solomon. Four collated pages ( XLVI recto, (XLVI verso, XLVII recto, XLVII verso) from the richest illustrated Incunable, the famous: Nuremberg Chronicle, published the year that Columbus returned to Europe after discovering America.The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, since some of the cuts bear a remarkably close resemblance to the Apocalypse illustrations.The printing was carried out under the supervision of the great scholar-printer Anton Koberger, whose printing were famous throughout Europe.

¤ A detailed description of the northern coast of England. West to the top. Milleage cartouche has no Latin captures. Decorated by a colourful title cartouche and scale cartouche, one compass rose, several vessels. A very early edition rare Dutch text edition of this landmark contribution to the science of navigation. Waghenaer's own personal experiences as a pilot along European coasts were used to compile the Spiegel der Zeevaerdt, the first edition of which was published in Dutch at Leyden in 1584/85 by the house of Plantin. Although advertised as published in 1584 according to Koeman this edition is more likely printed in 1585. The chart is engraved by the famous artists Baptist and Johannes van Deutecom.The chart showing soundings, sandbanks, landmarks and coastal profiles.

¤ A detailed description of the English channel coastland. Decorated by a colourful title cartouche and scale cartouche, one compass rose, several vessels and sea monsters. A very early edition rare Dutch text edition of this landmark contribution to the science of navigation. Waghenaer's own personal experiences as a pilot along European coasts were used to compile the Spiegel der Zeevaerdt, the first edition of which was published in Dutch at Leyden in 1584/85 by the house of Plantin. Although advertised as published in 1584 according to Koeman this edition is more likely printed in 1585. The chart is engraved by the famous artists Baptist and Johannes van Deutecom.The chart showing soundings, sandbanks, landmarks and coastal profiles.

¤ The standard map of Middle Eastern part of England with Chester, Leicester, Oxford, Cambridge, etc. in 17th century France. Engraved by A.Peyrouin. Nicolas Sanson was to bring about the rise of French cartography, although the fierce competition of the Dutch would last until the end of the century. His success was partly owing to the partnership with the publisher Pierre Mariette. In 1644 the latter had purchased the business of Melchior Tavernier, and helped Sanson with financial support in producing the maps. In 1657 Pierre Marriette died, however his son, also named Pierre, co-published "Les Cartes Générales de toutes les parties du Monde." the following year. It was the first folio French produced world atlas.

¤ Double-page map of the old Middlesex County, including a marvelous depiction of London on the Thames in the lower right corner. Decorative cartouche and coat of arms. Latin text on verso. Also on verso illustration of Stonehenge. Also on verso illustration of Stonehenge.Blaeu established his firm in 1599 as instrument and globe makers. He went on to produce some of the highest quality atlases ever published. Willem Janszoon Blaeu (1571-1638) was the founder of the Blaeu publishing house. In 1634 he commenced publication of the "Theatrum Orbis Terrarum" or "Novus Atlas" and on his death he was succeeded by his son Johannes (1596-1673). Johannes continuously enlarged and updated the "Theatrum" up to 1658, including the addition of a separate volume devoted to England and Wales. Blaeu maps are renowned for the consummate care and attention apparent in every stage of production - using only the best paper with finely engraved plates and a high standard of printing. The county maps have decorative title cartouches and often depict the coats of arms of those families with important county links.

¤ The standard map of South Eastern England with Kent and Essex, Sussex and Cornwall in 17th century France. Engraved by A.Peyrouin. Nicolas Sanson was to bring about the rise of French cartography, although the fierce competition of the Dutch would last until the end of the century. His success was partly owing to the partnership with the publisher Pierre Mariette. In 1644 the latter had purchased the business of Melchior Tavernier, and helped Sanson with financial support in producing the maps. In 1657 Pierre Marriette died, however his son, also named Pierre, co published "Les Cartes Générales de toutes les parties du Monde." the following year. It was the first folio French produced world atlas.

¤ An eye-catching chart of Ireland, including north of England and Scotland, with West to the top. Pieter Goos (ca. 1616-1675) was one of the most important cartographer, engraver, publisher and print seller of Amsterdam. His widow continued business at her husband's death. She re-issued 'Nieuwe Groote Zee-Spiegel" in 1676.

¤ A beautiful and flamboyantly engraved grand two-sheet map of Ireland. Embellished with two cartouches, a vessel under sail and a sea monster.

The map is the product of the late 17th century Venetian cartographer, Vincenzo Coronelli. A decorative title cartouche appears bottom left in the form of a banner supported by playful winged mermaids and cherubs.The remarkable Vincenzo Coronelli (1650-1718), encyclopaedist, geographer, inventor and Doctor of Theology, was citizen of the Republic of Venice. He was also one of the most prominent mapmakers and publishers in Europe of his day. Bonar Law, pg83,No.38, (i).

¤ A large map of Scotland, on two joined sheets. The Northern map has a list of the provinces and their capitals at upper left, and with a title cartouche on the right side. The Southern part has a title cartouche at lower right.

The map is the product of the late 17th century Venetian cartographer, Vincenzo Coronelli. A decorative title cartouche appears bottom left in the form of a banner supported by playful winged mermaids and cherubs.The remarkable Vincenzo Coronelli (1650-1718), encyclopaedist, geographer, inventor and Doctor of Theology, was citizen of the Republic of Venice. He was also one of the most prominent mapmakers and publishers in Europe of his day.

¤ A finely engraved perspective view of the city of London, with people, animals and buildings in the foreground, on the south side of the river, London Bridge across the Thames with sailing ships and the city beyond. The title appears on a banner in the sky. From the German text edition of Description d'Univers... By Allain Manneson Mallet (1630-1706), a well travelled military engineer and geographer who worked in 17th century France under King Louis XIV.

¤ A very decorative and extremely rare town-view of river Themes and Westminster bridge in London, including a six line description in French and English. Published by Jacques Chereau, (1688 - 1776). With the address " A Paris chez Chereau rue St. Jacques au Coq proche la Fontaine Dt. Severin." and plate number "60" in upper right margin.

The brothers Chéreau, where one of the most prolific print publishers active in Paris at "rue st.Jacques au Grand St.Remy". François Chéreau was born in 1680 in Blois, it is unknown when he settled in Paris. He was student of Gérard Audran and Pierre Drevet. In 1718 he acquired the stock of copperplates and prints of his tutor Gérard Audran. He was a very talented engraver. After his death in 1729 the copperplates were sold by his widow. His brother Jacques (le jeune) (1688-1776) was also engraver and publisher and worked for one year in England. He was well known as engraver of portraits.

¤ So-called optical print illustrating a perspective view of St James's Palace, Pall Mall. The gatehouse of St James's Palace is on the left. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of the central aisle of St. Martin's church, in London. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of the Westminster Abbey, in London. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures. See our special page about optical prints and peep shows.

¤ So-called optical print illustrating a perspective view of Somerset House on the Strand in London. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of the interior of the Saint Paul cathedral in London. Engraved by la Marcade. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of the interior of the Saint Paul Cathedral in London. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of the fountains and artificial cascades in Vauxhall Gardens, London. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures. See our special page about optical prints and peep shows.

¤ So-called optical print of the London stock exchange. Daumont was a well-known publisher of optical prints, established in Paris. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the "optical print" or "vue optique" came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of Grosvenor Square, Mayfair, London. The centrepiece of the 100 acre Grosvenor Estate, it was built between 1725-31, laid out with large handsomely equipped houses, and has always attracted residents of the highest social status. Much of the Square was rebuilt in the 1920’s by the second Duke of Westminster and only two of the original houses now survive. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ So-called optical print illustrating a perspective view of Greenwich Hospital, illustrating its close proximity to the River Thames. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures. See our special page about optical prints and peep shows.

¤ So-called optical print illustrating a bridge on the river Thames at Hampton-Court. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the optical print or vue optique came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures. See our special page about optical prints and peep shows.

¤ So-called optical print, engraved by F.Leizelt. In the eighteenth and nineteenth centuries there were many popular speciality establishments in Paris, Augsburg and London, which produced optical viewing devices and special engravings to be viewed through them. In the 18th century the "optical print" or "vue optique" came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession. The viewing devices for which these perspective prints were produced consisted of a lens and a mirror, this requiring the use of reversed or mirror-image pictures.

¤ Beautiful lithography of the departure of the British steamboat "l'Orenoco" from Southampton in May 1854, with soldiers leaving for the Crimean War. After a design Louis by Le Breton. Louis LeBreton was a surgeon in the French Navy from 1836-1848. During that period he made several very long expeditions including Dumont d'Urville's second circumnavigation (1837-1840) aboard the Astrolabe.

¤ A very nice view of the castle Hampton Court near London. On the foreground, a pelican, a doe, a rabbit, a fox and a wild cat, among with two noble man. With a verse in two languages underneath the picture. The poet Daniel Meisner from Komotau started his "Thesaurus Philo-Politicus. Das ist Politisches Schatzkästlein guter Herren und bestendiger Freund..." in Frankfurt in 1623, initially in parts, each one containing about fifty plans. The work was printed work and was printed by Eberhard Kieser. In 1678 the collection of copperplates was sold to Paul Fü, who continued the printing under the title By 1625 the collection included 362 which had increased to 800 the end of the century, when the last edition was published. A rare and attractive print. - Fauser, Repertorium älterer Topographie, 7920.

¤ A very nice view of the city. On the foreground, a man climbing up a column is depicted. With a verse in two languages underneath the picture. The poet Daniel Meisner from Komotau started his "Thesaurus Philo-Politicus. Das ist Politisches Schatzkästlein guter Herren und bestendiger Freund..." in Frankfurt in 1623, initially in parts, each one containing about fifty plans. The work was printed work and was printed by Eberhard Kieser. In 1678 the collection of copperplates was sold to Paul Fü, who continued the printing under the title By 1625 the collection included 362 which had increased to 800 the end of the century, when the last edition was published. A rare and attractive print. - Fauser, Repertorium älterer Topographie, 7920.